IN CONVERSATION WITH AVALON EMERSON

interview by MAREK BARTEK

Numéro Netherlands Digital presents Avalon Emerson, an artist whose work spans club culture, songwriting, and everything in between. Whether behind the decks or in the studio, her approach balances instinct, emotion, and curiosity. Ahead of her Dekmantel main stage closing, we caught up to talk narrative arcs, nostalgic textures, and the joy of creative reinvention.

Your sets are often described as ‘evocative’ and genre-spanning. How do you approach constructing a DJ set — are there emotional or narrative arcs you deliberately build, or is it a more instinctive process for you?

At this point, there’s an abstract and internal set of checkboxes that I look for when I’m listening to new music in preparation for a DJ set. The environment and the mood of the set is something I keep in mind — is it a 90-minute festival at 7 p.m. for a crowd of thousands, or an 8-hour closing at Panorama Bar? But in general, the kinds of songs that find themselves in my record-box have to have a unique quality to them or it needs to be obvious that the song can play a particular role in contributing to an arc. I’ve gotten pretty used to developing a schema of time and place, emotion and affect that certain music will have on a dance floor. But I also love surprises, which still happens quite a lot. 

photography by JOSHUA HIATT

‘Sort of Like a Dream’ and ‘You’re My World’ are two of your latest releases from Perpetual Emotion Machine. What story or emotional through line connects these two songs, and how do they further elaborate on this evolving project?

For ‘Sort of Like a Dream’ — I love making music with Gu (Anunaku). We usually both have our laptops open at the same time, and jam together synced with an Ableton link. I think we push each other slightly outside of what we’d normally make, and it helps that Gu makes a legendary focaccia. With ‘You’re My World,’ I spent a few days up in Montreal working in the studio with Priori (Francis) and his studio mate, Patrick Holland. Three people in the studio at once can be a real speed hack, where each person can dive deep into an aspect of the song, and then we all get together and mould the arrangement. Francis and I have a lot of musical taste overlap, especially in the deeper house and techno sounds crossing over between New York and Europe in the 2000s — a lot of Levon Vincent.

There’s a nostalgic quality even in the titles, almost romantic. Can you share how you approached blending emotional storytelling with club-ready energy in these tracks?

Dance music may seem ephemeral and tacky, at the whims of oscillating fads, but it doesn’t always have to be that way. Sometimes the experience on the dance floor listening to music on an expensive sound system can be woolgathering and meditative, and I like dance music that takes more swings in that kind of depth. 

photography by COLLIN HUGHES

Your DJ-Kicks release in 2020 was celebrated for its seamless blend of textures and eras. How did you approach curating that mix compared to a club set, and what did you want it to communicate about you as a selector?

I was just talking to my friend Aurora Halal about the differences between a live set and an intentional headphone mix, sometimes a set works for both but ever so often it’s a very different set of asks. Again, it’s about set and context. For example, that’s why I think it’s important to have a bit of crowd noise mixed in when I release live recordings. With traditional mixes it’s a cool opportunity to weave in “non-club” music. There’s a lot of music out there. It would be a shame to just stick to things with a juiced and icy four-to-the-floor kick and 16-bar intro.

You’ve remixed such a wide range of artists, from Slowdive to Four Tet. How do you enter the headspace of interpreting someone else’s work, and is there a particular remix that felt especially personal or transformative for you?

I love remixing! It’s something that I take quite seriously, but I don’t always have enough time to do a ton of. I often like to keep the full vocal line in since it’s usually critical to the identity of the song. Every song is different, and I don’t think they all need a remix. So unless I hear a particular new route it can take, I don’t do it. I recently heard my Robyn Honey remix, and I still really love that one. I still pass by the custom Ableton drum rack I made for that song and it reminds me of it, but I can’t use it anymore, because it’s already served its purpose.

Avalon Emerson & The Charm marked a significant stylistic shift. It was a leap into songwriting and vocal performance. What compelled you to step into that new artistic territory, and what did you discover about yourself in the process?

Again, there’s so much out there in the music world. I wanted to try something new. I discovered that I love writing lyrics and thinking about different structures of songs, more in a traditional intro–verse–verse–chorus–verse–chorus way. I also realised something that a lot of other musicians have known from early on — collaborating with other talented musicians is truly amazing. Making art with your friends is one of the best parts of this life.

photography by COLLIN HUGHES

There’s a tenderness and vulnerability in & The Charm that stands in contrast to the kinetic energy of club music. Was that contrast intentional, a sort of counterpoint to your DJ identity, or more of a natural outgrowth?

I think The Charm project feels like there’s still a lot of uncovered ground for me. There’s excitement in doing something where I feel a little out of my element by being a relative novice, and I try to protect that feeling, that anything is possible and there are so many things to learn. That personal bleeding edge is where good things happen I think. 

Now signed with Dead Oceans, you’re in a new phase of your career, what excites you most about this next chapter? Are there uncharted genres, collaborators, or mediums you’re eager to explore?

I’ve been working with Dead Oceans for recent dance music singles, and it’s been fantastic working with such a talented and tight knit group of music fans. Even just talking to people who have also made music their passion makes me happy, and I feel like I’m on the right path. The Charm will rise again soon! 

Your journey has traversed continents, genres, and even vocal registers, and now on August 3rd, you will be playing the closing set at Dekmantel's main stage. What does this mean to you as an artist?

When I played Dekmantel for the first time only a couple years ago in 2023, I truly had one of the best festival experiences. They do a fantastic job with all the production and sound and operations, and the booking is top tier. The crowd is passionate and locked in, and ready for things slightly outside of the usual mainstream, which I really respect and feel excited to be included, and honoured to do the main stage closing this year. I’ve been keeping a rolling playlist bucket all year and I’m not sure exactly what I will play but I’m stoked.